Storyboarding Your Film

Lesson 8 of 10

Workflow

Storyboarding Your Film

Lesson 8 of 10

Workflow

Lesson Info

Workflow

These these air film nails and christie did so these were for this music video I give this is now I don't know if this is that if you want to get into work flow and then animated specifically or what but what I do is like once I do my thumbs and I arranged him and like like up here like I was gonna make sense but this was to show the client with the band but so then like these little cartoons we have descriptions under them and I did this again it's still a super simple scribbling drawing that this was kind of a real visual stream of conscious thing so it wasn't really a story it was more they wanted kind of a psychedelic thing and things morphing into other objects and things like that but but you know it's it's clean enough that you can kind of see what's happening and and you could run it by someone and be like, you know you have notes do you like it do you not like it? Um but I feel like this like all right, since this is based on a song and not a script right it's a little differe...

nt but imagine like all right first your imagine this is a script right? It worked for my tea first you have some kind of script and you're just working out like the most rudimentary thumb nalley ideas on here then he might take it into like you know either, eh? Technically your thumb now story border what you might call a rough story board is somewhere I'd see this is like somewhere in between we're presenting here were you really kind of like put it in a storyboard format you got little panels in a row it's not just a bunch of random margin drawings on a script and then you work out the rough so you do further editing you figure that out then you you tied down your story board you make it more specific, you make your decisions and you're like, ok, this story board is more specific which I've saw your boards he did on this because we were remember you were working on him when we're together and you're putting more poses and you're making it more clear you're figuring out the camera moves and then then you go into an atom attic, right? We're with music video you're kind of working to the audio track so again it's a little different, but in a traditional thing you take them, you're tied down board, you're more specific board and then bring that into an automatic stage where either were, you know, putting it against the audio track or or a scratch track or something like that and the automatic is kind of like that you're working uh you know that's your tools they used tio refer to for everything your automatic is broken down into scenes that put in the scene folders you're layout person works off your automatic your designers work off your automatic your animator works off your automatic in a live action scenario your automatic would be breaking broken down into a shot list and the practical things and what sets you have to build on what props you have to get into how many background extras you need yeah exactly if it's a defects thing like what's a practical thing onset what's a weird cg element that we're gonna get a smoke machine and we're gonna put smoking and post you know whatever you make all your decisions based upon this this adam attic that's a storytelling device and I think we have, like, a little bit of like an example of like, uh you know, kind of a script that we could walk you through from way brought something from china illinois which is a show that we do for adults when the third season you know is available. I mean, all the seasons are available to watch but I think uh you probably ableto watch episodes online about when this comes out and in the future you find him on the internet probably on adult swim or something but we could break down a little sequence I think do we have I can't remember if we have the script and the board yes, so here's here's the script so you know basically like what we're talking about here this would be handed out so pony it's like steve we can't have people think that we love each other we got to do this for each other we got to go big you know the skyscraper, same window washers that have been established some of previous peace west same building now scarred and wearing cast camera shoots their backs and that we could see through the glass and long that's something we're like writer creator is specific with shots that you might not always get because he knows we have brad knew what he wanted in this they're oblivious we see franken that china man costume off tess adores a joke that's been set up earlier then back having knows the washer she enters the office assesses what furniture to throw when the washington somewhat daughter was open this wrap guys, you want to do this concert anyway you get the idea this is a script now here's a board now with china they build all the sets at a time in in three d and sketch up so the board artist has a actually a physical background to work with and then they go through and posed the characters out so you could see you know this is pretty specifically worked out you know an animator layout artist who's going to know what to do there? You know it's it's pretty worked out and sometimes he could see f for frank w one w two for window washer wanted to if you don't want to draw the detail even go into that you can see even the technical stuff you've gotta frame count of the scene you've got the frame count of you know the sequence of the show you've got to see number the episode number so on and so forth you know how that's planned out and then then I think the next uh, clip is the actual execution of this and you can see like this is what it looks like is a real cartoon you could see how you know the script said what was gonna happen on the storyboard visualized it and now you can see how this actually works as a real cartoon show oh no what's gonna happen well, you can't know because you saw the automatic and look now you don't have to have enough next to him because you could see that that's who that guy is because now it's a real cartoon show and look at that he's looking on a cellular telephone and what do you know he's not paying attention they get they dropped down and that guy uh it's hit by a tiger there you go neat work flow done. Uh, mathematics. There you go. So, you any questions about that stuff? Nope. Well, oh, you have a question? Yeah. Uh, how many frames do you actually draw for anaemic? I mean, and that's? Such a such a a hard question to answer because, you know, like animation is generally because of, you know, it all started with film, right? Was ran twenty four frames a second, mostly. So the traditional animation process is, like, well, there's twenty four frames of film in a second. A lot of animation is done on twos, you know, the save time. So it's, like twelve, you know, twelve frames a second of actual drawing, although lip sync and other things happened, uh, you know, largely on ones if they need to be suck up, but when you get into the amount of drawings, well, now there's a ton of layers if you're dealing with crowd scenes, there's like everybody's animating on separate layers, there's, backgrounds, there's some things that are and made on ones if they happen fast, there's some things that air holds so it's, like, you know in a second and it could be a hold on its one drawing, or it could be like a bunch of people fighting, riding around on horses, screaming it's like hundreds of juggling. So it's, kind of an impossible question. Answer teo thing added that no, and it also depends on the show, and some shows have a more fluid or maybe intricate things, more drawings and some shows might have, uh, you know, you might have something that moves around more with aftereffect sorts, maybe being manipulated or so it depends on the show, but but it's a lot harder to, like break down these days because so many things are being moved in the computer and stuff and there's short cuts, you know, really the least amount of drawings are the most fully animated because they just they don't do layers they just draw, like the old, like old school disney stuff. Also, you were limited by the amount of cell layers you could have because the stuff will get gray and greater and greater than more cells you put on top. So all those scenes, they just animate fully all on one cell layer. And so you would only have one drawing per frame or every other frame because they would draw everything on one layer, but they're really hard drawings, you know, yeah.

Class Description

An inability to draw doesn't make storyboarding obsolete – no matter how simplistic and basic your stick figures are, you can still use storyboards as a guiding blueprint for your production. In Storyboarding Your Film with Chris Prynoski, Christy Karacas, Chris Prynoski will show you how to develop simple, effective storyboards which allow you to tackle all kinds of filmmaking challenges.

Chris has used storyboards to develop his best-known works including, Metalocalypse, Freaknik: The Musical, and Randy Cunningham: 9th Grade Ninja. In this class, he’ll teach you how to use the basic tool of storyboarding to deconstruct a scene or sequence and how to implement the storyboard as a useful aid for both camera and crew.

You’ll learn:

Which projects to storyboard

Alternative uses and mediums for storyboarding

Optimal tools and instruments for storyboard creation

How storyboards serve filmmakers

Chris and special guest instructor, Christy Karacas (director of Adult Swim's Superjail!) will share both original and pre-existing storyboard examples to help ensure your own boards advance your project and act as a useful guide for other key collaborators. You’ll learn simple approaches that will make the creation of storyboards less intimidating and more inspiring.

If you are ready to incorporate more advanced techniques into your filmmaking, Storyboarding Your Film with Chris Prynoski, Christy Karacas will guarantee your next project is more polished, prepared, and cinematic.

user-1f91d5

I really enjoyed this course! The instructors were professionals who detailed their work in a way that really helped me. I've been storyboarding for a few years but have great new insight thanks to Chris and Christy. Loved their creative style which felt that I was in the studio with them just hanging out.

Brian Roma

Very helpful class. The beginning was great to see how these artists approach analyzing a script and then putting shots together. Unfortunately, the class was pretty one sided as only one student asked questions when opportunities to ask these professionals was given. I am glad I spent the money on this class and plan to rewatch it after practicing.